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MUSIC RIGHTS PRIMER Introduction THE COMMITTEE ON ENTERTAINMENT LAW OF THE ASSOCIATION OF THE BAR OF THE CITY OF NEW YORK January, 2003 The Committee gratefully acknowledges the contributions of prior chairpersons, Noel L. Silverman and Victoria G. Traube, and of H. Joseph Mello, the initial editor. MUSIC RIGHTS PRIMER Introduction This Primer is intended to assist lawyers who are not actively engaged in the music sub- specialty of entertainment law, but who, from time to time, may be involved with matters pertaining to that area. It is also intended for law students and non-lawyers who have an interest or involvement in the entertainment industry. We envision this Primer to be used primarily to explain the different rights that fall under the generic term “music rights”, and to delineate generally which rights are necessary for projects or product in this medium. It is not intended as a replacement for an exhaustive treatise and should not be considered a substitute for specialized legal representation required to resolve the complex issues that often arise in transactions involving music rights. Rather, it is designed to highlight issues and to provide the basic understanding of the foundations of a music project. Specialists in the field should be consulted when additional legal assistance is needed. They can easily be found in New York, Los Angeles and Nashville, and to a lesser extent, in other parts of the country. This Primer deals with music rights in the United States only. While many of the principles discussed below apply in other countries as well, there may be significant differences, and resolution of foreign issues is outside the scope of this Primer. In general, if it is intended LH002381.4 1 that particular rights may be exercised outside the United States, the license with the rights owner should specify all territories granted. Music Copyright Versus Sound Recording Copyright At the outset it is important to distinguish between rights in a song, and rights in a sound recording that may embody the song. When we hear a recorded song, two separate and distinct intellectual properties are involved that need to be identified and understood. The first property is the music composition, itself—the words and music composed by the songwriter(s). The second property is the sound recording—the fixed embodiment of sounds resulting from the recorded performance of that musical composition. Publishing rights in a song include the right to exploit the song in any medium, and are unrelated to the identity of the performer or performers of a particular recorded version of the song. Sound or master recording rights, on the other hand, include only the rights in a particular fixed performance of a musical composition. A user will have to consider obtaining separate rights for both the use of the song and the sound recording. The author of each property—as to the musical composition usually the songwriter, and as to the sound recording the producer (often, the record company)—is the initial owner of the intellectual property, in each case a copyright. Copyright affords its owner the following exclusive rights which are itemized in Section 106 of the Copyright Act (17 U.S.C.106): (1) to reproduce the copyrighted work in copies or phonorecords; (2) to prepare derivative works based upon the copyrighted work; (3) to distribute copies or phonorecords of the copyrighted work to the public by sale or other transfer of ownership, or by rental, lease or lending; (4) in the case of literary, musical, dramatic, and choreographic works, pantomimes, and motion pictures and other audiovisual works to perform the copyrighted work publicly; (5) in the case of literary, musical, dramatic, and choreographic works, pantomimes, and pictorial, graphic, or sculptural works including the individual images of a motion picture or other audiovisual work, to display the copyrighted work publicly; and (6) in the case of sound recordings, to perform the copyrighted work publicly by means of a digital audio transmission. LH002381.4 2 “Publishing” Rights So-called music publishing rights generally encompass the right to record, the right to perform, the right to duplicate, and the right to include the work in a new or different work, sometimes called a derivative work. In order to facilitate the exploitation of the songwriter’s songs, the songwriter generally transfers the publishing rights to an entity identified as “the publisher,” pursuant to a music publishing agreement that assigns the copyright or administration rights to the publisher, which then shares publishing income with the songwriter as stipulated in the agreement. In music parlance, the categories under the umbrella called publishing rights—all derived from Section 106 of the Copyright Act—are referred to as mechanical rights, synchronization rights, print rights and public performance rights. Mechanical Rights The right to reproduce and distribute to the public a copyrighted musical composition on phonorecords (which include audiotapes, compact discs and any other material object in which sounds are fixed, except those accompanying motion pictures and other audiovisual works), is called the mechanical right. (The terminology “mechanical” dates from the days of the player piano, when a perforated cylinder was inserted into the mechanism and a composition literally was “mechanically reproduced.”) Licenses granted to the user to exploit the mechanical rights are called mechanical licenses. Once the copyright owner of a musical composition authorizes the public distribution of phonorecords embodying the composition for the first time, anyone else may then also record that musical composition and distribute phonorecords of that new recording by following the procedure established by the Copyright Act, which requires giving notice to the owner and paying a statutory royalty for each phonorecord manufactured and distributed. This is called a compulsory license. Publishers may, and more frequently do, issue such licenses voluntarily; LH002381.4 3 many utilize The Harry Fox Agency (see "Resources" at the end of this Primer) to handle mechanical license grants on their behalf. The compulsory license is available only for audio recordings which are manufactured for distribution primarily to the public for private use. It does not extend to use of music in audiovisual works such as television programming or motion pictures (see "synchronization rights," in next section), nor to services which furnish background music to commercial establishments (see "public performance rights"), nor to broadcast transcriptions. As of January 1, 2002, the statutory mechanical rate is 8 cents per song or 1.55 cents per minute of playing time per unit sold/distributed (whichever is greater). This rate is scheduled to increase in 2004 (8.5 cents) and 2006 (9.1 cents). The statutory rate applies only if the record company elects to utilize the compulsory mechanical license provisions of the Copyright Act or if it is incorporated by reference in a consensual license. However, the record company is free to bargain with the publisher for a lower rate. Synchronization Rights The right to record a musical composition in synchronized relation to the frames or pictures in an audiovisual production, such as a motion picture, television program, television commercial, or video production, is called the synchronization (or “synch”) right. There is no compulsory license for this right; it is subject to the licensor and licensee reaching mutual agreement as to terms. In addition to mechanical rights, The Harry Fox Agency represents many music publishers in handling synchronization licensing. As a result of antitrust claims in the middle of the last century, the synchronization right for a theatrical motion picture must also afford to the film producer the theatrical performance right (see “public performance rights” below), that is, the right publicly to exhibit the motion picture, including the song, in theaters. On the other hand, the producer of a television show which includes a musical composition generally acquires only the synchronization license, while LH002381.4 4 the television station—the broadcaster—must acquire the public performance license, discussed below. Print Rights The rights to print and sell single song and multiple song (or folio) copies of sheet music of musical compositions are the print rights licensed by the publisher. Over time, income from sales of single song sheet music have diminished. An active market exists, however, for folios and other compilations, which often are constructed around specific artists, styles of music, record albums, Broadway shows, motion pictures, and similar themes. Public Performance Rights Just over 100 years ago the Copyright Act recognized the right of public performance in musical compositions. Today, this is generally the most lucrative source of income for many, if not most songwriters. The Act defines public performance in part as: “to perform or display [the work] at a place open to the public or at any place where a substantial number of persons outside of a normal circle of a family and its social acquaintances is gathered.” Public performance rights can be broken down into two categories – “small” or “non- dramatic” rights, and “grand” or “dramatic” rights. Small performance rights include concert and other so-called “live” performances, incidental and background music on television programs, and radio airplay. A grand right covers performance of music in a dramatic setting or in any way which directly advances the plot of the production in which it is included. However, the public performance right is not self-enforcing. Performances of copyrighted music were so numerous, widespread, and transitory that it was virtually impossible to police the right. By the same token, it was impractical for a performer or band to negotiate a license for every song played at each performance or venue. This led to songwriters and publishers joining together to create performing rights organizations, which act as licensing clearinghouses to facilitate licensing and monitor compliance.
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